Böcker av Julian Thomas

This is the second of four volumes which present the results of The Stonehenge Riverside Project, a long-term fieldwork project at Stonehenge for the first time in decades.

How are e-book pirates changing the publishing industry? What do ticket scalpers and internet search companies have in common? What role does organised crime play in the global movie business? How do 'jailbroken' iPhones drive innovation? What does a '.

This book employs contemporary theoretical perspectives to investigate the Neolithic period in southern britain. It is a fully reworked edition of the author's Rethinking the Neolithic (1991).

This study explores the relationship between archaeology and modern thought, showing how philosophical ideas that developed in the 17th to 19th centuries still dominate our approach to the material remains of ancient societies.

A digital reprint which makes available again the first publication of the Neolithic Studies Group, containing papers given to a special colloquium on the `structures' of Neolithic Europe. Contributions include: Neolithic houses in mainland Britain and Ireland - a skeptical view (Julian Thomas); Houses in context: Building as process (Alasdair Whitlle); A Central European Perspective (Jonathon Last); Neolithic houses in Ireland (Eoin Grogan); Neolithic buildings in Scotland (Gordon Barclay); Neolithic buildings in England, Wales and the Isle of Man (Tim Darvill); Mesolithic or later houses at Bowmans Farm, Romsey Extra, Hampshire (Francis Green); Ballygalley houses, co.Antrim (Derek Simpson); Later Neolthic Structires at Trelystan, Powys (Alex Gibson); Life, times and works of House 59, Tell Ovcharovo, Bulgaria (Douglass Bailey); Structure ans ritual in Neolithic houses (Peter Topping); Architecture and Cosmology in the Balinese house: life is not that simple (Colin Richards); Houses in the Neolithic imagination: an Amazonian Example (Christine Hugh-Jones).

A complex enclosure identified by aerial photography at Dunragit Galloway, was demonstrated by excavation to have been of Late Neolithic date, and comprised three concentric timber ramped post-rings, 120–300 m in diameter. The two outer post-rings each comprised large uprights interspersed with smaller members, probably forming a continuous palisade. Each was a single-phase structure and the posts had rotted out. The inner ring had largely been made up of large, freestanding posts, most of which had rotted away, but some of which had been deliberately removed, the post-holes being considerably larger than those of the two outer rings. Where posts had been pulled out, a number of elaborate deposits had been placed in the crater left by the post-removal. The entrances to the post-rings are not aligned and the preferred interpretation is that the monument as a whole had two phases of construction, in each of which a timber circle was surrounded by a palisade, and in which the middle post-ring succeeded the outer, or vice-versa.The enclosure had been preceded by a post-defined cursus monument in which all the post had been burned in situ and numerous other post-holes were located on the same axis as the cursus, extending beyond the monument itself.The most elaborate entrance, connected with the middle post-ring, is composed of two parallel lines of features, presumably post-holes, opening toward the south, and aligned on a large earthen mound at Droughduil, 400 m away. Droughduil Mote, though recorded as a medieval motte, recalls the association of various very large mounds with with henges or palisaded enclosures, as at Silbury Hill, Wiltshire. Excavation demonstrated that it had been constructed with stepped sides, and that a stone cairn had been constructed on its summit. A series of optically stimulated luminescence dates on the accumulated sand over the surface of the mound demonstrated that it was certainly not medieval, and was probably Neolithic in date.

Vigorous public debate about intellectual property has a long history. In this assessment of the shifting relationships between the law and the economic, social and cultural sources of creativity and innovation during the long-nineteenth century, Megan Richardson and Julian Thomas examine the 'fashioning' of the law by focusing on emblematic cases, key legislative changes and broader debates. Along the way, the authors highlight how, in 'the age of journalism', the press shaped, and was shaped by, the idea of intellectual property as a protective crucible for improvements in knowledge and progress in the arts and sciences. The engagement in our own time between intellectual property and the creative industries remains volatile and unsettled. As the authors conclude, the fresh opportunities for artistic diversity, expression and communication offered by new media could see the place of intellectual property in the scheme of law being reinvented once again.

Drawing on the work of Heidegger, Thomas develops a way of writing about the past in which time is seen as central to the emerging identities of people and things, and the temporal structures of humans, places and artefacts as radically similar.